Blog Archives

Two years ago, director James Wan took critics and audiences by surprise with Insidious, a ghostly funhouse that rose above the lowered expectations that surrounded it. Just two short months ago, Wan proved himself as a force to be reckoned with in the horror community with The Conjuring, a 70s-inspired haunted house throwback that became the sleeper hit of the summer and was hailed as one of the scariest films to come around in years. Apparently, there was no rest for the wicked. Tossed into theaters just in time for Friday the 13th is Insidious: Chapter 2, a slipshod cash-grab sequel that ranks as one of the worst horror films of 2013. What Insidious: Chapter 2 does prove, however, is that maybe Wan wasn’t the hack many thought he was when he was cranking out garbage like Saw and Dead Silence. No, it appears the problem is Whannell, who serves up a wretchedly muddled screenplay that desperately tries to explain nearly every little detail of the far superior original film. Even the cast, which is comprised of established actors and actresses like Rose Byrne, Patrick Wilson, Barbara Hershey, Lin Shaye, and Jocelin Donahue, seem completely perplexed and lost within the film they are starring in, causing them all to give some of the worst performances you may see this year. I don’t think it would surprise anyone if this cast were up for the worst ensemble at the upcoming Razzies.

Insidious: Chapter 2 picks up with Renai Lambert (played by Rose Byrne) being interviewed by a police detective about the mysterious death of paranormal investigator Elise Rainer (played by Lin Shaye), who was found strangled to death moments after Josh Lambert (played by Patrick Wilson) returned from the Further. Renai denies that Josh had anything to do with Elise’s death and she continues to insist that it was the spirit of a woman in a black wedding gown that was the one responsible for the murder. Renai leaves to rejoin her family, who has moved in with Josh’s mother, Lorraine (played by Barbara Hershey), while the police continue with their investigation. Just as life seems to be getting back to normal, Renai and Lorraine both have separate paranormal experiences that suggest the malicious spirits have not moved on yet. Meanwhile, Josh’s behavior gets more and more bizarre, suggesting that his body has been taken over by one of the most violent spirits wandering the Further. Frightened for their lives, Lorraine and Renai seek out the help of Specs (played by Leigh Whannell) and Tucker (played by Angus Sampson), the duo who aided with Josh’s trip into the Further the first time. They also track down Carl (played by Steve Coulter), Elise’s former partner who has encountered these spirits before.

The biggest crime committed by Whannell and Insidious: Chapter 2 is the fact that it resorts to rehashing the scares that worked the first time around rather than attempting anything new. While there are one of two scenes that will curl your toes and cover your arms in goosebumps, everything is way too familiar to really give this installment any identity of its own. To make things worse, Whannell’s script goes to great lengths to explain away all the scarier moments of the first Insidious. Did we really need to know what was knocking on the front door and setting off the home security system in the first film? Was anyone truly obsessing over the identity of that shadowy bride in back that kept appearing in the Lambert’s photographs of Dalton? It’s highly unlikely, but Whannell seems to think that everyone needs to know. Apparently Wan didn’t explain to Whannell that the lack of an explanation for that phantom manifestation, bump, or creak just down the hallway is scarier when you DON’T know who or what caused it. At least those who were let down by the first film’s ending can rest easy knowing that the Darth Maul spirit that crawled across the walls and made dolls doesn’t dare make an appearance.

When you’re not cringing over all the blue-in-the-face explanation, the acting will certainly have you burying your face in your bag of popcorn. Nearly every single actor or actress that steps in front of the camera gives a glaringly rehearsed or robotic performance, leading you to wonder if anyone really cared how this movie actually turned out. Wilson is at his absolute worst as Josh, the crazed papa from Hell who wields a baseball bat and stands in the hallways at night whispering to unseen figures that command him to kill. By the end of the film, you’ll be secretly hoping that The Amityville Horror’s George Lutz will coming barreling through the front door with an axe and show Josh who’s boss. Byrne is basically asked to wander around the new setting with wide eyes and fake tears as toys go flying through the air and piano notes chime suddenly. Coulter is all anxious shifts and awkward fumbles, a new character that could work if he had just the slightest bit of personality or courage. Whannell and Sampson return as the geeky paranormal investigators Specs and Tucker, who are here to break the tension when things get a little too spooky. It’s just a shame Whannell’s jokes are mothballed gags that will have you shaking your head. Shaye does an okay job, but its clear she is a bit baffled as to why she is even here. Hershey is the only one who really attempts to sell the absurdity and in the process, she delivers the only performance that is worth anything. The House of the Devil’s Jocelin Donahue shows up in a handful of flashback sequences that you wish would have been left on the cutting room floor. If you want to see some truly awful acting, just watch the opening flashback sequence of this movie. I couldn’t believe that the studio didn’t demand reshoots.

As far as bright spots go within Insidious: Chapter 2, the best parts of the film are the small nods to classic horror films that Whannell and Wan place throughout. Even though Wilson nearly destroys them, there are a few little tips of the hat to Psycho, The Shining, and The Amityville Horror. These nods could have been even better had Wilson actually cut back on some of the cheese. There are also a few scenes that pay tribute to the striking lighting schemes that horror fans admired at in Dario Argento’s Suspiria. This is unsurprising considering that Wan and Whannell cited Argento as a major inspiration for the first film. There are also a few stretches where Wan really finds a groove with the haunted house scares, but these are largely done in by jolt shocks or fake outs that just irritate you. As if Insidious: Chapter 2 needed anything else working against it, wait until your ears are treated to some of the film’s painfully awkward dialogue. Absolutely none of it comes across as natural and a good majority of it is unintentionally hilarious. Overall, it truly is a disappointment to see Wan slumming it like this, especially after crafting one of the most fiendishly frightening films to come along in quite some time. Insidious: Chapter 2 is a redundant and convoluted mess that nearly destroys the reputation of the first film. Hopefully, Wan has the good sense to back out of a third installment, as another Insidious film is inevitable. Come to think of it, the set up for a third film was probably the scariest part of Insidious: Chapter 2.

There was a time when I thought that James Wan was a hack. In 2004, he failed to move me with his industrial indie Saw, the film that was responsible for igniting the torture porn craze that gripped the horror genre for a solid five years. While I’ll acknowledge that Saw offered a few clever surprises and a seriously wicked piece of rusty headgear, the film felt like a wannabe Seven that lacked the gloomy urban goth of David Fincher’s grotesque classic. It didn’t help that it was followed up with a string of pale and uninspired sequels (Wan only directed the first film) that stretched the premise to the breaking point. Wan offered up two more exercises in mediocre brutality (Dead Silence, Death Sentence) before he really made something worthwhile. In 2011, he made me a believer in his talent with his fiendish funhouse horror movie Insidious, a near perfect thrill ride that was tripped up by an overkill climax and a ghoul that looked like Darth Maul from Star Wars. It appears that Insidious was just a warm-up. A little over two years later, Wan returns to the horror genre with The Conjuring and he means business. The Conjuring doesn’t find Wan reinventing the haunted house horror movie formula, but it does find him at the top of his game and delivering the knock-out punch that horror fans have been waiting years for. Yes, this film is genuinely scary, folks.

The Conjuring picks up in 1971, with Roger (played by Ron Livingston) and Carolyn Perron (played by Lili Taylor) moving their happy family to an old farmhouse in Harrisville, Rhode Island. As the Perrons settle in to their rural palace, the family begins experiencing a number of strange occurrences. At first, their youngest daughter talks about a new imaginary friend, they hear eerie noises throughout the home, their dog is terrified to come near the house, birds fly into the windows, they find strange bruises on their bodies, and they wake up every morning to find their clocks frozen at 3:07 AM. As the activity increases and becomes more malevolent, the petrified Carolyn approaches local paranormal investigators Ed (played by Patrick Wilson) and Lorraine (played by Vera Farmiga) Warren about coming to their home and investigating the activity. At first the Warren’s are a bit hesitant, especially after their last case, which took a severe toll on Lorraine, but upon arriving at the Perron house, they uncover the home’s grisly past and quickly come to the realization that this may be their most horrific case yet, especially when the supernatural forces begin fighting back.

Proudly sporting the “based on a true story” badge, The Conjuring finds Wan refusing to hide behind this fatigued gimmick. He could have peppered his film with the same old lazy jump scares and then argued in an interview that the film is scary because it supposedly really happened, but he resists at nearly every single turn. There are loud bangs and there certainly are plenty of sudden jolt scares, but for each easy “gotcha,” Wan balances it out with a nerve-frying moment of bloodcurdling intensity. He starts out small, with faint bumps, thumps, footsteps, and bangs that would make Robert Wise smile. He then graduates to poltergeist activity, with the Perron girls getting yanked out of their beds while they sleep, doors slamming on their own, people getting thrown across the room, and Carolyn getting violently shoved down the cellar stairs. When Wan shifts his attention to the full-on manifestations, The Conjuring takes a bit of a hit, mostly because the spirits seem a bit too familiar. They have the usual gray skin, blackened eyes, and dusty period clothing, all something that you might have spotted in Insidious. A few of them are eerie, especially the young boy that appears in the music box mirror, but for the most part, you wish that Wan would have left them in the shadows. Thankfully, they don’t take too much away from the film.

While the first half of The Conjuring acts as a chilly ode to haunted house classics like The Haunting and The Amityville Horror, the second half of the film becomes heavily indebted to demonic horror films of the 1970s like The Exorcist. While nothing comes close to the horror we saw in William Friedkin’s classic, The Conjuring certainly doesn’t go soft on us. The climax is usually where these types of horror films collapse on themselves, mostly because the filmmaker is under the impression that they have to outdo themselves and bring the story home with a deafening bang. Wan was certainly a victim of this on Insidious with his maroon nod to famed Italian horror director Dario Argento, but on The Conjuring, he fights the urge to go over the top. The climax here is fabulously tame, with only a few special effects that keep us from totally buying into that whole “based on a true story” thing. There is some bloody barf, nasty burns, and demonic howls that even Linda Blair’s Regan would chuckle at, but Wan never lets the film slip. He puts several innocent lives at stake and he even threatens the sanity of our heroes, who have already been pushed to the brink once before. I’ll be damned if you won’t be holding your breath.

While Wan’s expert direction certainly makes The Conjuring a winner, the film’s stars do a remarkable job seeming natural and authentic for the camera. Taylor is spot on as the sweet Carolyn, a loving housewife who oozes affection for her family. She shares many wonderful moments with Livingston’s Roger, a down-to-earth nice guy trucker who is powerless to protect his family. Taylor and Livingston work overtime to make us really like them and their hard work pays off when the spooks come knocking. While Taylor and Livingston hold their own, they take a back seat to Farmiga and Wilson, who elevate their real life paranormal investigators to horror movie heroes for the ages. Farmiga is on fire as Lorraine, a levelheaded clairvoyant who fights the urge to scream bloody murder when one of the manifestations gets right in her face. She is immensely likable, especially when her motherly affection comes forth. Wilson’s Ed doesn’t emit the warmth that Farmiga does, at least not at first. It takes some time to dig into him, as he is perpetually all business in his lectures and interviews, only softening when his young daughter comes calling. Rounding out the cast is Shannon Kook as the Warren’s techie assistant Drew, who gets a chance to play hero at the end of the film, and John Brotherton as Brad, a skeptical local cop here simply to add a bit of unnecessary comic relief.

While there certainly are a few little things that The Conjuring could have done without, the film is just way too strong where it counts. The scares are not always accompanied by loud music queues and there is a heavy reliance on atmosphere to keep us on the edge of our seats. The terror is consistently held and the moments that threaten to become cliché are thrown off to keep us uneasy about what Wan will do to us next. The Perron household is convincingly done up to seem old and aging, all yellowing walls, big heavy doors, and long hallways shrouded in shadows. The outside seems frozen in a perpetual autumn, complete with a blackened pond out back, dead leaves blanketing the ground, and a gnarled tree that was perfect for a satanic suicide. It is clear that Wan understands that the house itself is as much of a character as the flesh and blood ones we are invested in. The nods to past horror classics are all slyly placed and Wan even dares to work in a tip of the hat to Alfred Hitchcock’s apocalyptic masterpiece The Birds. He does effectively play with the “found footage” craze a bit, giving it a retro edge that feels oddly fresh. Overall, The Conjuring is carefully crafted in vein of 70s horror films (get a load of that gloriously retro opening credit sequence) and offers up enough moments that will sear themselves into your nightmares for the rest of your life. In a time when the horror genre finds itself unsure over how to scare the audience silly, Wan reminds it that simplicity is key.

One of the most controversial comic-to-movie-screen adaptations is without question Zack Snyder’s 2009 superhero epic Watchmen. To many comic book aficionados, Dave Gibbons and Alan Moore’s stunning DC Comics graphic novel was considered un-filmable by many who have poured over the blood drenched pages. I have to admit that I fell into the camp that didn’t want to see Watchmen in movie theaters but I was left speechless when I saw the rhythmic trailer in the summer of 2008. Many film geeks consider Snyder a visual director who can’t properly handle a narrative, something that the graphic novel thrives on. So, did the un-filmable turn out to be filmable? For the most part, yes, Snyder took great care in bringing this incredible tale to the big screen, pining over the smallest details on every single page right down to the smallest brushstroke of color. It was gripping, philosophical, jarring, and gorgeous all in the same breath but what it truly lacked was accessibility. I attended the midnight showing of Watchmen with a group of my friends, several who had never read the graphic novel. I was so excited to have them see this movie but when we emerged after two hours and forty minutes, they were less than impressed. They didn’t understand what all the fuss was about. I guess you have to read the comic to really get inside this one.

Without giving too much away about Watchmen, I’ll stick to the bare basics. Watchmen takes us to an alternate 1985, where the world is used to superheroes leaping across the rooftops of buildings and intervening with criminals of all sorts. Superheroes have been a part of daily life since 1938, when a small group of masked avengers known as the ‘Minutemen’ formed an alliance and started fighting crime. As the ‘Minutemen’ began to age, a new generation of crime fighters emerged called the ‘Watchmen’, a new fraternity that ultimately was outlawed by Richard Nixon. Nixon, however, used superheroes to win the war in Vietnam, which has led to multiple re-elections into the 80s. He primarily used the deadly Dr. Manhattan (Played by Billy Crudup), a real-life “Superman” who has gained incredible powers through an unfortunate accident and is now considered a living, breathing, and glowing government weapon. Watchmen begins with the aging hero The Comedian/Edward Blake (Played by Jeffrey Dean Morgan) getting confronted in his apartment by an unknown assailant and being brutally murdered. The police wave the murder off as just a disgruntled old villain that came back to take revenge on The Comedian but masked vigilante Rorschach (Played by Jackie Earle Haley), who continues to prowl the streets even though superheroes are banned, suspects that there may be a bigger plot to wipe out former masks. Rorschach seeks out his old partner Nite Owl II/Daniel Dreiberg (Played by Patrick Wilson) and fills him in on his theory. Dan disregards Rorschach but begins warning other former heroes as a precaution. To make matters worse, the United States and Russia are on the brink of nuclear war.

There was no way for Snyder to bring Watchmen to the big screen without pissing off at least one or two fans. Along with his screenwriters David Hayter and Alex Tse, the crew makes a massive oops by tinkering with the grand finale that did send this fanboy into a tizzy. I was so disappointed that the ending was reworked, taking me a few days after seeing it to really get over my resentment. But then I got to thinking, “Well, if they would have kept the original ending, the film would have been infinitely longer than it already was”. Another aspect that outraged me about Watchmen was the fact that Snyder clipped out the comic-within-the-comic interludes that were found in the comic books. He did okay by releasing a companion DVD that told the story of the Tales of the Black Freighter but I desperately wanted this in the film itself. Once again, I understood that this would have added another half-hour or so to the runtime but I guess I would have sat through a five hour long interpretation of Watchmen if it was available. Don’t let these complaints fool you, I still loved this movie and it did live up to my expectations, which were huge, mind you. I thought there were several moments that were jaw-dropping, the coolest being the opening fight sequence that leads in to one of the most incredible opening credit sequences ever put on film. It has to be seen to be believed. If you have seen the film, even the most disgusted fanboy has to admit it was a spectacular and stirring moment for all.

While Watchmen does have some of Snyder’s trademark slow-motion-into-sped-up fight sequences, the film is interested more in the shattered American Dream and what it takes to bring about peace. Each hero in Watchmen has their own code for how the deal with crime, some believing that “dogs should be put down” while others think they should be turned over to the proper authorities. In the old days, the line between good and evil was as clear as day for the ‘Minutemen’, something the remaining members of that retired group look back on fondly. In the “present day” of Watchmen, things are not so black and white. While Watchmen is a superhero movie, it lacks an arch villain, at least one that really plagues each mask through the lengthy runtime. It is society itself that the group grapples with. Are the “good” citizens worth saving or should we just give in to a war that will ultimately consume us all? Watchmen takes a scary detour when Snyder pulls back the curtain on the Nixon administration, further hinting that we may not be able to trust our leaders in the face of annihilation. They may hand us over to a fiery death just to make peace, or at least fight back against the threat, or simply to save their skins. Each time I watch Watchmen, I still get chills when one of Nixon’s advisors tells him that if nuclear war occurs, the whole east coast will be wiped out and the winds will carry the radiation to New Mexico. Middle America will be okay, which is good news, all things considering. Tell me that is not powerful stuff.

Watchmen has been criticized for some of the performances that make up this mound of ideas. The standout is by far Jackie Earle Hayley’s Rorschach, a fedora-wearing bad ass who growls through his oily mask as he dispatches criminals in the most gruesome of ways. We see a good majority of the story through his ink blotches as he asks us if pedophiles, rapists, and serial killers should really be put behind bars. His simple answer is no but wait until he spouts of the complicated one. He will turn you to ice. Then we have Crudup’s disconnected Dr. Manhattan, a glowing God who single handedly wins Vietnam in about a week. Much of his character is CGI but his distant voice is what truly resonates. Malin Akerman shows up as Laurie Juspeczky/Silk Specter II, a leggy avenger who longs for the affection of her boyfriend Dr. Manhattan. Wilson’s Nite Owl II is appropriately lost, a flabby has-been who hides behind cartoonish spectacles and searches for an excuse to put on his old armor. Jeffrey Dean Morgan is a knock-out as the slimy Comedian, a man who has made some poor choices in his life, laughed at human suffering, and vomited at the American Dream, all while firing his shotgun randomly into a disgruntled crowd of protestors who howl over the very idea of superheroes doing the job of the police. Also on deck is Matthew Goode as Adrian Veidt/Ozymandias, a wealthy former-mask who was known for his speed, strength, and smarts. He is considered the intelligent man on the planet and he is a fascinating character, but Snyder brushes over him, which is very disappointing when it comes to the last act twist.

There is almost too much to be said about Watchmen and it truly is a difficult film to review because there is so much going on within it. There are so many ideas swirling around inside it that we almost loose focus of what the film is actually trying to convey, which is a bit disappointing. The big question here is what it takes to gain peace, but that is just one slice of the pie. I will say that at almost three hours, the film never has a dull moment. There is plenty of action, gore, and sex to keep the younger males busy while Snyder slyly whispers bigger questions into the ear of those willing to look closer. Watchmen also forces conservatism and liberalism to jump into the ring to see who will ultimately triumph. I’ll leave it to you to figure out who trumps the other. While it is impossible for me to cover all the ground that Watchmen covers in this review, I will finish by saying that I think Watchmen is a beautifully ornate study of the superhero. It is well spoken and hypnotic but also a bit bloated, but it still holds your attention throughout the entire ride. I also advise that you read the graphic novel before approaching the film because some of the smaller touches will make more sense. Not perfect but certainly very good, in my opinion, Watchmen stands as one of the best superhero movies out there, with tons of layers to peel back and explore for years to come.

In these indolent times that are plaguing Hollywood, it’s such a refreshing experience seeing a film that is not a direct remake of an older, often times superior original. It’s usually an iconic film that studios use to simply milk money from our wallets. They repackage the film, tie it up with a big CGI bow, throw in half-baked 3D, and we flock to see it because we are familiar with it. If they aren’t desecrating an old gem, they are lifting the material from a book, comic book, or graphic novel. It makes me wonder if any of these writers or suits out there in the City of Angels remotely consider picking their own brains for a good story. The genre that especially can’t seem to help itself is the horror genre. It seems that absolutely no one can come up with an original and relentlessly scary little horror flick these days. Instead, studios just look to rebooting tired franchises whose knives and machetes are showing signs of rust (Yes, I am talking about you Nightmare on Elm Street and Friday the 13th remakes!). It seems like every year we get one scary movie that is actually effective. Last year’s stylish American remake Let Me In was a standout. The year before saw the, in my humble opinion, good but not great haunted house thrill-ride Paranormal Activity. We’ve also seen an amped up remake of The Hills Have Eyes, the colorfully blood drenched Dawn of the Dead remake, the tribute to 50’s B-movie creature features The Mist, the claustrophobic monster movie The Descent, and the outstanding British zombie flick 28 Days Later, and the based-on-true-events chiller The Mothman Prophecies. That’s basically what we have had to work with since 2002. And three of those are remakes!!

While creativity is one portion of the problem, another reason why horror ultimately ran itself into the ground was the work of two men—James Wan and Leigh Whannell. They are the culprits who graced our movie screens with the torture porn clunker Saw. They ignited a frenzy of films that shamelessly bathed in body fluids and they also sparked a line of horrendous sequels that followed. While the only notable film in the series was Saw III, they influenced Hostel, Wolf Creek, and a slew of others that were less concerned about being scary and more concerned with making you squirm. And many of them were successful at making you cover your eyes but the genuine scares were non-existent. Yet in the past few years, torture porn has made itself scarce and horror has been attempting to embrace real fear again. It’s funny that the men who reduced horror to ashes, have played Dr. Frankenstein and risen it like a phoenix. Insidious is that phoenix.

Insidious is one of the scariest movies I have seen in quite sometime and is simply one of the best horror movies in years. Yeah, I said it. And it’s also original! Sure, it’s an unholy fusion of Poltergeist, The Exorcist, The Shining, and The Amityville Horror, but these days, we have to be carful when we criticize something that attempts to break new ground. Alas, Insidious does not but it sure makes a valiant attempt. Instead, Insidious conjures up some truly hellish images that are guaranteed to linger in your head for days after witnessing them. The film follows Josh (Played by Watchmen’s Patrick Wilson) and Renai (Played by 28 Weeks Later’s Rose Byrne) Lambert and their three children as they move into their new home. All seems well until strange noises are heard throughout the home, objects are moved, and one of their children, Dalton, falls into a coma (Ya know, the usual!). But after a seriously spooky night in their home, they begin to wonder if the reason their son has fallen into this enigmatic coma is supernatural rather than medical. The Lambert’s call in a group of paranormal investigators who quickly determine that Dalton is trapped in a ghostly parallel universe called The Further.

If it sounds like you’ve heard all of this before, you have, as Wan has crafted a loving tribute to the horror films of old. He throws reference after reference at the audience and one could almost make the film into a game of spot that horror reference. It’s all quite fun but it’s the 180-degree shift in the quality of the work here that is really quite impressive. Wan’s chiaroscuro industrial aesthetic still lingers but the film itself is much more patient than Saw. It feels like there is discipline here and I think much of that may stem from the producers who were also responsible for Paranormal Activity. There is no over-reliance on blood and guts (The film is rated PG-13) and instead relies on loud bangs, growls, shadowy figures, and sudden music blasts to make you soil your shorts. But Wan also fries your nerves through some seriously haunting images; most striking of all is a shadowy apparition standing behind a baby’s crib and a demon lurking in the corner of poor Dalton’s room. Even Whannell’s script provides a few blasts of heebie-jeebies. One scene includes a character describing a dream that she had and all I will say is that it turned my insides to ice cubes. It gives me chills just think back to it! This scene demonstrates the beauty of your imagination getting the best of you.

What’s even more impressive about the film is the performances that Wan manages to capture. He has positioned two very talented actors at the core of the film and it doesn’t hurt either that Barbara Hershey (Black Swan) shows up as a concerned grandmother. Lin Shaye pops up and provides a fine performance as the psychic Elise Rainier. While sometimes the acting does dip and head into cheesy territory mostly from his child actors, it’s forgivable. What does end up hurting the film and causes it to loose some of its momentum is the final act, which falls victim to the you-never-show-the-monster syndrome. It causes the film to descend into the fun house realm. Someone should have explained to Wan that it’s what you don’t see that ends up being the most horrifying.

While the ending suffers a bit, the film is still astonishing in how uncompromising it is in its attempts to send you screaming from the theater. It will get you at least once. The film sadly chooses the same path that the final minutes of Paranormal Activity did and embrace the CGI trickery. In Insidious, however, you overlook it because the final minutes of this demon are unpredictable. Just get ready for an I-did-not-see-that-coming twist. But the first three fourths of the film is so good, that Insidious haunts its way onto the must see list. The film also redeems any potential talent that James Wan and Leigh Whannell have and it leaves me intrigued for what they do next. I will leave you with is this: Any film that makes me walk into a darkened room and quickly flip on the light is one you have to see (Seriously, it really did that to me.). Insidious is an inspired creep-out that will haunt your dreams. Grade: A